Scan 31
Musical Courier 1903-02-25: Vol 46 Iss 1196, 1903
111 lines. Read by computer on 23 September 2026, twice; the two readings disagreed in places. Printed page 32. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1being of moderate strength and blending unusually well. The baritone possesses a well trained organ of considerable range and sufficiently flexible to meet the requirements of the work.—Milwaukee Sentinel.
3Mr. Willett's voice is remarkably firm and lacking in the vibrato so common in the West among singers.—Chicago American.
5HARMONICA.
7LATE CHICAGO NEWS.
9CHICAGO, Ill., February 25, 1903.
11If the $750,000 needed for the permanent maintenance of the Chicago Orchestra, there is now pledged about $170,000. The new subscribers of last week are: Cyrus H. McCormick, $10,000; Victor F. Lawson, $10,000; Stanley McCormick, $10,000; Mrs. Thos. Nelson Page, $10,000; William B. Walker, $10,000. Names not yet ready for announcement, $20,000.
13Another Powers' Musical.
15Music lovers are certainly indebted to Francis Fischer Powers for the rare programs he furnishes them from week to week, and for the artists whom he has to interpret them. Last Saturday Mr. Powers presented in his recital Carl Gralow, baritone, of New York, and Miss Julia C. Allen, violinist, of New York and Scranton, Pa., with the assistance of Miss Cordelia Freeman and Messrs. Briggs and Kirk.
17Gifted with a rare baritone voice, and a thorough musician, Mr. Gralow delighted the entire assembly. His beautiful tone coloring was not the least remarkable feature of his singing, while he displayed that inimitable Powers finesse with which all who attend these musicales are familiar. Since coming to this country from Berlin, two years ago, Mr. Gralow has studied with Mr. Powers and developed into one of our very best baritones. Those who have heard Miss Allen play the violin know that there is always a musical treat in store whenever her name appears on a program. The pure, broad tones, and the exquisite singing quality which she brought from the violin, were what we expected, and yet it seemed as though the tones were never quite as rich and broad as on this occasion.
19Miss Cordelia Freeman's singing elicited great applause. It might be hard to say in which branch Miss Freeman excels the more. While her singing disclosed the fact that she is a finished artist, her own songs were such perfect gems that she was voted equally great as singer and composer. Yielding to the entreaties of those present, Mr. Powers sang Dudley Buck's "Salve Regina" with all those niceties of art that enthrall his audiences. Messrs. Briggs and Kirk duplicated their former successes, which in fine means that they scored another artistic triumph. The program follows:
21Introduction and Polacca………………………………………Chopin
22Miss Allen and Mr. Briggs.
23Trio (first movement)……………………………………………..Jadassohn
24Miss Allen, Mr. Briggs and Mr. Kirk.
25O Cessate di Piagarmi……………………………………………..Scarlatti
26Tre Giorni Son Che Nina………………………………………Pergolese
27Mr. Gralow.
28Adoration………………………………………………………..Borowski
29Angelus (Jeanne d'Arc)………………………………………Godard
30Miss Allen.
31Nuit d'Amour…………………………………………………….Fessard
32Nina………………………………………………………..Delibes
33Nuages………………………………………………………..Georges
34Miss Freeman.
35Aus Meinen Tränen Spriessen……………………………….Schumann
36Die Dose, die Lilie, die Taube……………………………….Schumann
37Wenn Ich in Deine Augen Seh……………………………….Schumann
38Mr. Gralow.
39Elegy………………………………………………………..Bazzini
40Gypsies………………………………………………………Sarasate
41Miss Allen.
42The Coves of Crail……………………………………………..Cordelia Freeman
43The Last Night…………………………………………………Cordelia Freeman
44Somebody…………………………………………………….Cordelia Freeman
45Miss Freeman.
46Soupir………………………………………………………..Bemberg
47En Chemin…………………………………………………….Holmes
48Mr. Gralow.
50QUESTIONS AND ANSWERS.
52To The Musical Courier:
53Kindly give me the names of the soloists at the rendition by the Oratorio Society of the oratorio of "St. Paul." I have tried in another way to get the information, but without success.
54J. M. Keen.
55New York, February 20, 1903.
57"St. Paul" was sung by the Oratorio Society at Carnegie Hall on the night of November 18, 1902. The soloists were: Shanna Cumming, soprano; Miss Katherine Pelton, contralto; Ellison van Hoose, tenor; Anton van Rooy, baritone. These were the principal soloists. The smaller parts were sung by Robert Hosea and Mr. Janpolski, both baritones.
59Grove's Dictionary.
60213 Buena Vista Ave., Yonkers, N. Y., February 18, 1903.
61To The Musical Courier:
62Would you please inform me if there is anything in the world like Grove's Dictionary, only more up to date, giving events between the years 1889 to 1902? This information will please one of the readers of THE MUSICAL COURIER. Yours very truly, F. L. Keller.
63Regarding Grove's Dictionary please read THE MUSICAL COURIER of January 21. If the Grove Dictionary cannot be used with confidence (and it cannot) there is practically nothing left in the English language, except inquiries addressed to this paper. one of two readings
64Regarding Grove's Dictionary please read The Musical Courier of January 21. If the Grove Dictionary cannot be used with confidence (and it cannot) there is practically nothing left in the English language, except inquiries addressed to this paper. one of two readings
66A Suggestion.
67Nashville, Tenn., February 7, 1903.
68To The Musical Courier:
69I take the liberty of of making two suggestions to you, one of small import and the other of considerable dimensions, though in one sense of a reducing significance.
70First, will you kindly have the price of works reviewed appended after the publisher's name and oblige.
71Secondly, and pray pardon the suggestion if it does not meet your approval, for, of course, I understand that I am meddling with something that is not much of my business, would you consider the subject of reducing the size and shape of THE MUSICAL COURIER? It is very unwieldy to hold while reading and a reduction to the regular magazine size or not quite so small would make it much more convenient to handle. An instance, where it was done successfully, is The Outlook. It might be put to a vote of your subscribers.
72Again asking your pardon for presuming to interfere, I remain, with best wishes for your continued success,
73Very truly yours,
74F. E. Farrar.
76First—The very fact that this is published and answered will attract the attention of music publishers who may decide as they deem best whether the prices of their publications should be appended to the notices. There are some advantages in this and other great disadvantages, but they know best.
77Second—As to changing the size of THE MUSICAL COURIER into that of a regular magazine size. We must not permit this suggestion to pass without calling attention to the fact that a business like this is occupying itself constantly with the consideration of such problems and that for years THE MUSICAL COURIER staff has been discussing the question of the size of the paper and its dimensions, &c. There are many other reasons why the size should be reduced somewhere between the present size and that of a magazine of the regular form, but there are many other reasons why it should not be reduced.
78If Mr. Farrar will compress this paper into half the size and then observe what it means to print twice the number of pages he will see at once that he will have on an average about 100 pages a week to go through. It is bad enough as it is now. The amount of material which comes into this office every week would produce two MUSICAL COURIERS, and the greatest problem before us now is the condensing and fitting into its present size the news which comes here and the information and articles and reviews, &c. Our correspondents are constantly urging us to publish their letters as they reach us, but if we do not condense and reduce them we must make a paper of 100 pages of this size each week, and that is impossible, for THE MUSICAL COURIER is today the largest weekly publication in existence so far as letter-press goes. There is no weekly paper published in this country or Europe that has each week so many columns of news matter. Now, despite this fact, if we were to publish everything concerning music and classical music to which we pay attention the paper would be twice as large.
79We admit its unwieldiness, but we also are not dead to the fact that all papers are unwieldy except those practically arranged magazines, and they have also become unwieldy by reason of the fact that they have made their advertising pages in the front and in the back more important than their reading matter. They have simply overdone it. There is no question that they are good mediums for general advertising, but they have changed the magazine from its portable, convenient form to a veritable directory which people are obliged to carry about weighted down with that enormous mass of advertising matter. This advertising does not carry out the extent of its value from the fact that it is bunched and crowded together, while in THE MUSICAL COURIER it is distributed. When people read they are bound to see the advertisements as they appear in this paper. On the other hand, people can read the regular magazines and never see the advertisements, and, in fact, a great many of them tear out these advertisements in the front and back of the magazine and simply retain the reading matter of the magazine in order not to carry these bunches of paper about. Now they would do the same thing with THE MUSICAL COURIER. If we were to change this paper into magazine form and follow that course, which we would be obliged to do, we could not put the advertisements then into the reading pages and we would not be able to distribute the advertising, and the people would tear out the advertising in the back and front where it would be grouped, and our advertisers would be paying for something for which they would receive no return, and for which no return could be possibly guaranteed so far as our readers are concerned. Mr. Farrar must not forget this business point. We must do justice to our advertisers, and we know how many thousands of people, how many hundreds of thousands, read the paper and see the advertisements, and the advertisers know it because they get returns, and they would never get these returns if the advertisements were torn out. The increase of the advertising has not been profitable because it has compelled us, in order to give our readers what they require in THE MUSICAL COURIER, so much more reading matter which costs each hour more money.
80As for the unwieldy form. The daily papers are exceedingly unwieldy, and as for bulk, the Sunday papers are now of such dimensions that but one paper can be read by the average person, churchgoer or not. Weekly papers of the same character as THE MUSICAL COURIER which are carrying out their destiny as specialties in appealing to a certain class of readers and to the best class of readers, as happens to be the case with THE MUSICAL COURIER, for the richest people are those who are cultivating music and the most refined people of all classes
82ST. LOUIS.
84HOMER MOORE, BARITONE.
853836 Delmar Boulevard, St Louis, Mo.
87CHICAGO ADVERTISEMENTS.
89KIRK TOWNS
90BARITONE.
91Address: – Chicago Musical College.
92MABELLE CRAWFORD,
93Contralto.
94Teaching at Residence,
955246 Prairie Ave., Chicago.
96GRACE VAN VALKENBURGH,
97CONTRALTO.
98Management DUNSTAN COLLINS, 55 Auditorium Building, CHICAGO.
100ELLA DAHL RICH,
101Concert Pianist.
1021440 Edgecomb Place,
103CHICAGO.
104MARY WOOD CHASE, one of two readings
105PIANO VIRTUOSA one of two readings
106MARY WOOD CHASE, PIANO VIRTUOSA one of two readings
107Address all communications to
108613 FINE ARTS BUILDING, CHICAGO.
109HOWARD WELLS, Pianist,
110KIMBALL HALL, CHICAGO.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.